Jóhannsson Talks Scoring Theory of Everything

Jóhann Jóhannsson (best known for his melancholy Prisoners score) likes simplicity and pattern-based construction. And he’s found the perfect artistic expression in The Theory of Everything, conjuring a musical Big Bang about physics and love that just might earn him the Oscar.

“The thing about this film is that it’s intimate and very small in many ways, set in these town houses and corridors and classrooms, but it’s still very cosmic and has an epic quality as well, which is an interesting balance,” explains the Icelandic composer who’s next score is Sicario for Prisoners director Denis Villeneuve. “And that was fun to deal with because it has such a wide scope. But that was the challenge, really to do justice to that scope. There are very joyful and exuberant moments and there are moments that are bittersweet and tragic and melancholy and philosophical and very mystical.”

The film starts with a four-note motif that’s a circular, ostinato piano figure that slowly develops and recurs in different modes, including a more serene minor mode during the climactic lecture.

Read the rest at TOH/Indiewire.

Posted on by Bill Desowitz in Below the Line, Clips, Movies, Music, Oscar

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